Rob van den Braak
Simon Roberts, London-based animator and designer, made a beautifully designed, animated infographic about how to use a DSLR camera which at the same time shows the power of infographics. Remarkable is also that in an interview with Photography Mapped (where you can see the infographic) he carries a torch for real screen printing. “To give it the finish it deserved I wanted to screen print it. Screen printing allows for solid vivid colours to be printed and makes it something special”. Many screen printer will agree, because exactly that is the difference between screen print and inkjet.
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Simon Roberts, een Engelse animator en designer, maakte een prachtig vormgegeven geanimeerde infographic die niet alleen visueel uitlegt hoe je met een spiegelreflexcamera om moet gaan, maar toont ook aan wat de kracht is van een infographic. Opvallend in het interview op Photography Mapped (waar je ook de infographics kunt bekijken) is, dat hij een lans breekt voor echte zeefdruk.
“To give it the finish it deserved, I wanted to screen print it. Screen printing allows for solid vivid colours to be printed and makes it something special”, is een statement van Simon dat menig zeefdrukker zal beamen, want dat is toch nog steeds het verschil met inkjet.
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After the success of the Dutch Design Chair, the cardboard stool which is sold in many shops, Dutch Design Brand in Haarlem, the Netherlands, has produced a new sustainable cardboard product in the series: the Dutch Design Christmas tree. This simple to assemble christmas tree will last for years, but that is not its only sustainable quality. The tree is produced from FSC certified cardboard. The tree is sturdy and can be decorated, for example by taking out the cardboard baubles and ask your kids to colour them.
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In de groeimarkt verpakkingen is het snel en economisch ontwerpen van verpakkingen een succesfactor, die net zo belangrijk is als het eigenlijke productieproces. Esko komt met versie 16 van zijn Studio en Store Visualizer. Met deze nieuwe apps, die werken met Adobe Illustrator, claimt Esko de hele workflow van ontwerp tot visualisatie in 3D aanmerkelijk te versnellen. Voor bedrijven die wereldwijd klanten hebben zijn de nieuwe mogelijkheden van de HTML 3D Studio Viewer, waarmee een ontwerp altijd en overal beschikbaar is, een kans om tijd te besparen.
Lees meer over deze nieuwe software in onderstaand persbericht.
ESKO STUDIO 16 OFFERS FASTER AND EASIER TOOLS TO CREATE 3D PACKAGING DESIGNS, AND ADDS THE POWER OF PLANOGRAMS IN STORE VISUALIZER 16
Ghent (Belgium), November 22, 2016 – Esko has given 3D packaging design software Studio 16 its very own makeover with the launch of Esko Studio 16, part of the Esko Software Platform 16. Studio is a unique set of tools for 3D packaging design made for all packaging artwork professionals. With Studio you are virtually holding the pack in your hands.
Since 2006, Studio has been installed by thousands of packaging professionals, from small design agencies and freelance designers to the largest global brand owners. Studio has helped users produce better packaging designs, whether designers are trying out different ideas and want virtual mockups fast, or prepress operators are checking graphic positioning and reverse print. Creating this artwork for presentations, marketing campaigns or e-commerce is done with the artwork print production data and eliminates the need for separate packaging artwork creation in other software.
Esko Studio adds packaging 3D functionality to Esko’s Adobe® Illustrator® packaging workflow. “Unlike other solutions, designers and prepress operators don’t have to leave their design tool of choice. They are able to make very advanced 3D design actions within Illustrator – a platform they are very familiar with. Since ten years, Studio has been helping trade shops, converters and brands offer their customers a faster route to market for product design – and it continues to be the worlds’ most powerful and popular packaging 3D design and store visualization tool,” states Chris Stowe, Esko’s Product manager 3D solutions. “It eliminates the need for physical mock ups and reduces the approval process via instant online collaboration. Ultimately this means the time from design to production is much faster and cost effective. Creating test versions, new promotions and product variations can be designed and visualized at the touch of a button.”
Studio 16: a faster, easier way to design 3D packaging and show them online
“The benefits of Studio encourage designers to experiment with different ideas and allow prepress operators to do quality checks on graphics positioning, reverse print and other production critical elements,” comments Stowe. “Users can quickly check finishing effects, create realistic visuals, see more details in pack shots and speed up the production of pack shots.”
Over the past year, Esko has accumulated feedback from its large base of Studio users and now has released a significantly advanced version, all focused on higher efficiency and working speed. The new features of Studio 16 include:
· The ability to create 3D compositions 50% faster, thanks to new user tools such as snap to align while moving, vertical collision edge and detection, and a nudge tool for fast manipulation.
· Fast artwork application in scenes, so designers can apply different artwork to the same structures in product line ups and multi-product combinations.
· Studio 16 includes tools to select materials and apply print effects. Users can quickly check finishing effects by using a switch to turn on and off – and compare – finishing, to see how finishing effects apply and perform in isolation.
· Faster creation of realistic visuals, with the ability to add and adjust realistic floor shadows and light source angles.
· A faster way to create and output very high-resolution pack shots by adding automated scripting in Adobe Illustrator with new export options. The software is able to display barcodes; pricing and other metadata associated with each of the imported products. Even fine text is legible, and poster-sized images can be created. These are particularly helpful for artwork repurposing such as marketing and campaign use – creating product images even before a single package is produced.
· Users can view stunning virtual packaging anytime, anywhere, on the web using HTML5 3D Studio Viewer. The mobile and desktop versions of the viewer are free and can be found here.
Availability
Studio is available in two bundles: Studio Essentials to create cartons, bottles, trays and displays; and Studio Advanced for agencies or departments that need to handle every packaging shape imaginable, including difficult to create realistic flexible bags and shrink sleeves. Studio is part of Esko Software Platform 16, released in July 2016.
Anyone interested in Studio can get more information from the Esko guide about designing packaging and labels in 3D at https://www.esko.com/en/lp/design-packaging-labels-3d. Because Studio is available as a software subscription, users can be assured of all the functionality they need, based on workload, without a large investment. Monthly subscription plans are available online at https://www.esko.com/en/products/studio/buy
Studio Store Visualizer: Setting the scene for virtual store product launches
Studio Store Visualizer lets brand owners view packaging designs on the shelf and present a complete product launch in 3D, including retail-ready packaging, displays and other branded items. Over 100 brands and packaging companies worldwide are already using Studio Store Visualizer, utilizing the hyper realistic virtual stores to make design, brand and store placement decisions with speed, very early in the process. “Not only can end users experience what the product looks like on the shelf, but they can investigate how it sits alongside the competition and even walk through the entire store taking in the whole visual impact,” adds Stowe.
Store Visualizer 16 now integrates with planogram systems to create and populate visually stunning virtual 3D stores in minutes rather than days. This is ideal for brands and retailers to plan and physically populate shelves with product in stores for store planning and category management. The software lets users build stores quickly – even using actual retail data if desired, delivering a hyper realistic review of any products in a store before they are even manufactured. It helps them to test and decide the most effective way to place product on a shelf for the greatest sales impact.
3D viewing
Store Visualizer 16, along with its 3D stereoscopic rendering, also works with various virtual reality goggles, letting people see and touch virtual stores like never before. Rift’s advanced display technology combined with its precise, low-latency constellation tracking system enables the sensation of presence – the feeling as though you’re actually there. The result is an extremely realistic way to view products on a store shelf. A simplified user interface on a touch screen makes it easy for users to navigate a highly realistic virtual store, and interact with the packaging – even allowing the user to pick up an item form the shelf and have a closer look at it.
Availability
In version 16, Studio Store Visualizer is available in two versions. Studio Store Visualizer Advanced lets designers see their new designs on the shelf next to the competition, and present a complete product launch in 3D, including retail-ready packaging, displays and other branded items. Studio Store Visualizer Prime allows users to view and interact with packaging in a virtual retail environment – and also includes the ability to populate stores with planogram data. Studio Store Visualizer is co-developed with VTales and comes with a step-by-step shelf creation wizard makes it easy to build shelves.
Encouraging creativity
“All the Studio improvements combined create a smoother collaborative process for all parties involved,” explains Stowe. “The smarter and slicker user experience supports the broader usage throughout the industry of 3D designs. Today these designs are achieved so quickly and easily that they are becoming the natural first choice of product designers. It eliminates the reliance on expensive physical mock-ups and encourages creativity to help develop the most eye-catching and revenue earning looks. The high quality, consistent 3D design output is used and repurposed in applications such as marketing campaigns and communication, market testing, e-commerce and more.”
In the growth market packaging the fast and efficient designing of packaging is one of the success factors which is just as important as the actual production process. Esko launches version 16 of their Studio and Store Visualizer. According to Esko these new apps, compatible with Adobe Illustrator, will significantly speed up the workflow from design to 3D visualization. Companies with global clients will benefit from the new functionality of the HTML 3D Studio Viewer which will save time because the design is available anywhere at any time.
Read more about this new software in the press release below.
ESKO STUDIO 16 OFFERS FASTER AND EASIER TOOLS TO CREATE 3D PACKAGING DESIGNS, AND ADDS THE POWER OF PLANOGRAMS IN STORE VISUALIZER 16
Ghent (Belgium), November 22, 2016 – Esko Esko has given 3D packaging design software Studio 16 its very own makeover with the launch of Esko Studio 16, part of the Esko Software Platform 16. Studio is a unique set of tools for 3D packaging design made for all packaging artwork professionals. With Studio you are virtually holding the pack in your hands.
Since 2006, Studio has been installed by thousands of packaging professionals, from small design agencies and freelance designers to the largest global brand owners. Studio has helped users produce better packaging designs, whether designers are trying out different ideas and want virtual mockups fast, or prepress operators are checking graphic positioning and reverse print. Creating this artwork for presentations, marketing campaigns or e-commerce is done with the artwork print production data and eliminates the need for separate packaging artwork creation in other software.
Esko Studio adds packaging 3D functionality to Esko’s Adobe® Illustrator® packaging workflow. “Unlike other solutions, designers and prepress operators don’t have to leave their design tool of choice. They are able to make very advanced 3D design actions within Illustrator – a platform they are very familiar with. Since ten years, Studio has been helping trade shops, converters and brands offer their customers a faster route to market for product design – and it continues to be the worlds’ most powerful and popular packaging 3D design and store visualization tool,” states Chris Stowe, Esko’s Product manager 3D solutions. “It eliminates the need for physical mock ups and reduces the approval process via instant online collaboration. Ultimately this means the time from design to production is much faster and cost effective. Creating test versions, new promotions and product variations can be designed and visualized at the touch of a button.”
Studio 16: a faster, easier way to design 3D packaging and show them online
“The benefits of Studio encourage designers to experiment with different ideas and allow prepress operators to do quality checks on graphics positioning, reverse print and other production critical elements,” comments Stowe. “Users can quickly check finishing effects, create realistic visuals, see more details in pack shots and speed up the production of pack shots.”
Over the past year, Esko has accumulated feedback from its large base of Studio users and now has released a significantly advanced version, all focused on higher efficiency and working speed. The new features of Studio 16 include:
· The ability to create 3D compositions 50% faster, thanks to new user tools such as snap to align while moving, vertical collision edge and detection, and a nudge tool for fast manipulation.
· Fast artwork application in scenes, so designers can apply different artwork to the same structures in product line ups and multi-product combinations.
· Studio 16 includes tools to select materials and apply print effects. Users can quickly check finishing effects by using a switch to turn on and off – and compare – finishing, to see how finishing effects apply and perform in isolation.
· Faster creation of realistic visuals, with the ability to add and adjust realistic floor shadows and light source angles.
· A faster way to create and output very high-resolution pack shots by adding automated scripting in Adobe Illustrator with new export options. The software is able to display barcodes; pricing and other metadata associated with each of the imported products. Even fine text is legible, and poster-sized images can be created. These are particularly helpful for artwork repurposing such as marketing and campaign use – creating product images even before a single package is produced.
· Users can view stunning virtual packaging anytime, anywhere, on the web using HTML5 3D Studio Viewer. The mobile and desktop versions of the viewer are free and can be found here.
Availability
Studio is available in two bundles: Studio Essentials to create cartons, bottles, trays and displays; and Studio Advanced for agencies or departments that need to handle every packaging shape imaginable, including difficult to create realistic flexible bags and shrink sleeves. Studio is part of Esko Software Platform 16, released in July 2016.
Anyone interested in Studio can get more information from the Esko guide about designing packaging and labels in 3D at https://www.esko.com/en/lp/design-packaging-labels-3d. Because Studio is available as a software subscription, users can be assured of all the functionality they need, based on workload, without a large investment. Monthly subscription plans are available online at https://www.esko.com/en/products/studio/buy
Studio Store Visualizer: Setting the scene for virtual store product launches
Studio Store Visualizer lets brand owners view packaging designs on the shelf and present a complete product launch in 3D, including retail-ready packaging, displays and other branded items. Over 100 brands and packaging companies worldwide are already using Studio Store Visualizer, utilizing the hyper realistic virtual stores to make design, brand and store placement decisions with speed, very early in the process. “Not only can end users experience what the product looks like on the shelf, but they can investigate how it sits alongside the competition and even walk through the entire store taking in the whole visual impact,” adds Stowe.
Store Visualizer 16 now integrates with planogram systems to create and populate visually stunning virtual 3D stores in minutes rather than days. This is ideal for brands and retailers to plan and physically populate shelves with product in stores for store planning and category management. The software lets users build stores quickly – even using actual retail data if desired, delivering a hyper realistic review of any products in a store before they are even manufactured. It helps them to test and decide the most effective way to place product on a shelf for the greatest sales impact.
3D viewing
Store Visualizer 16, along with its 3D stereoscopic rendering, also works with various virtual reality goggles, letting people see and touch virtual stores like never before. Rift’s advanced display technology combined with its precise, low-latency constellation tracking system enables the sensation of presence – the feeling as though you’re actually there. The result is an extremely realistic way to view products on a store shelf. A simplified user interface on a touch screen makes it easy for users to navigate a highly realistic virtual store, and interact with the packaging – even allowing the user to pick up an item form the shelf and have a closer look at it.
Availability
In version 16, Studio Store Visualizer is available in two versions. Studio Store Visualizer Advanced lets designers see their new designs on the shelf next to the competition, and present a complete product launch in 3D, including retail-ready packaging, displays and other branded items. Studio Store Visualizer Prime allows users to view and interact with packaging in a virtual retail environment – and also includes the ability to populate stores with planogram data. Studio Store Visualizer is co-developed with VTales and comes with a step-by-step shelf creation wizard makes it easy to build shelves.
Encouraging creativity
“All the Studio improvements combined create a smoother collaborative process for all parties involved,” explains Stowe. “The smarter and slicker user experience supports the broader usage throughout the industry of 3D designs. Today these designs are achieved so quickly and easily that they are becoming the natural first choice of product designers. It eliminates the reliance on expensive physical mock-ups and encourages creativity to help develop the most eye-catching and revenue earning looks. The high quality, consistent 3D design output is used and repurposed in applications such as marketing campaigns and communication, market testing, e-commerce and more.”
Lees verder....
Figuring out a CO2 footprint is important also for textile printers. Taiwanese Global-Tex uses the ISO 16759 norm as a tool. With this norm it can show its international clients such as Puma, New Balance, Lacoste and Le Coq Sportif what its CO2 footprint rally is.
Read Laurel´s Verdigris blog on our articles page about Global-Tex and the ISO 16759 norm and why this will become a worldwide trend.
Lees verder....
When ISO 16759 for calculating the carbon footprint of print media products was under development, we mostly had in mind paper based prints. It is interesting to see this standard being deployed for other types of print media, which is what a Taiwanese supplier of textiles has done.
Shortly after ISO 16759 was announced in July 2013, Globle-Tex found that various sportsware providers were starting to take more interest in the carbon footprint of their products. This included some big names in the sports business such as Puma, New Balance, Lacoste and le Coq Sportif. Globle-Tex’s response was to develop carbon footprint data for its printed textiles, based on Life Cycle Analyses for these customers. Even though the target application for ISO 16759 is primarily paper based prints, Globle-Tex rightly recognised that the standard can be used for any type of print. This includes the obvious traditional printing applications such as books, newspapers, magazines and so on, but it also includes textile printing. According to Globle-Tex it applies to printed electronics and three dimensional prints such as shoes as well.
ISO 16759 is being applied at each stage of a Globle-Tex product’s development and extends to delivery. The company apparently measures the carbon footprint of the material manufacture and printing, the machinery used to do the printing and all subsidiary print processes such as labels, packaging and product literature. Globle-Tex state that they want to be able to determine the carbon footprint of everything required to produce their bespoke textiles.
Globle-Tex sells fabrics on demand, both fully and semi-processed, and produced on their own dye sub digital printers. Globle-Tex has rather curiously achieved certification to ISO 16759:2013 for its digital sublimation printing machine, as well as its digital UV printing machine. The certification extends to the materials produced on these printers, which are used to produce customised textiles printed on demand. The textile products are printed on what the company claims are eco-friendly materials and produced in a sustainable supply chain.
This company claims to be leading the Asian market with respect to its active engagement in print carbon footprinting. The certification to ISO 16759 is part of Globle-Tex’s effort to improve its social responsibility and to anticipate the expectations of customers, particularly in developed markets. With considerable foresight, Globle-Tex expects that apparel companies will expect suppliers to be able to demonstrate eco-friendly thinking that supports corporate sustainability goals. This is a sound approach, as government commitments start to trickle down to corporations and their supply chains, including print service providers.
Laurel Brunner
The Verdigris project is an industry initiative intended to raise awareness of print’s positive environmental impact. It provides a weekly commentary to help printing companies keep up to date with environmental standards, and how environmentally friendly business management can help improve their bottom lines. Verdigris is supported by the following companies: Agfa Graphics, EFI, Epson, Fespa, HP, Kodak, Kornit, Ricoh, Spindrift, Splash PR, Unity Publishing and Xeikon.
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Het berekenen van een CO2 voetprint is ook voor textieldrukkers belangrijk. Het Taiwanese Global-Tex gebruikt daarvoor de ISO 16759 standaard. Met die standaard kan het zijn internationale klanten, zoals Puma, New Balance, Lacoste en Le Coq Sportif, laten zien wat haar CO2-voetprint is. Lees in Laurel’s Verdigris blog op onze artikelenpagina hoe Global-Tex de ISO 16759 gebruikt en waarom dat een wereldwijde trend gaat worden.
Lees verder....
When ISO 16759 for calculating the carbon footprint of print media products was under development, we mostly had in mind paper based prints. It is interesting to see this standard being deployed for other types of print media, which is what a Taiwanese supplier of textiles has done.
Shortly after ISO 16759 was announced in July 2013, Globle-Tex found that various sportsware providers were starting to take more interest in the carbon footprint of their products. This included some big names in the sports business such as Puma, New Balance, Lacoste and le Coq Sportif. Globle-Tex’s response was to develop carbon footprint data for its printed textiles, based on Life Cycle Analyses for these customers. Even though the target application for ISO 16759 is primarily paper based prints, Globle-Tex rightly recognised that the standard can be used for any type of print. This includes the obvious traditional printing applications such as books, newspapers, magazines and so on, but it also includes textile printing. According to Globle-Tex it applies to printed electronics and three dimensional prints such as shoes as well.
ISO 16759 is being applied at each stage of a Globle-Tex product’s development and extends to delivery. The company apparently measures the carbon footprint of the material manufacture and printing, the machinery used to do the printing and all subsidiary print processes such as labels, packaging and product literature. Globle-Tex state that they want to be able to determine the carbon footprint of everything required to produce their bespoke textiles.
Globle-Tex sells fabrics on demand, both fully and semi-processed, and produced on their own dye sub digital printers. Globle-Tex has rather curiously achieved certification to ISO 16759:2013 for its digital sublimation printing machine, as well as its digital UV printing machine. The certification extends to the materials produced on these printers, which are used to produce customised textiles printed on demand. The textile products are printed on what the company claims are eco-friendly materials and produced in a sustainable supply chain.
This company claims to be leading the Asian market with respect to its active engagement in print carbon footprinting. The certification to ISO 16759 is part of Globle-Tex’s effort to improve its social responsibility and to anticipate the expectations of customers, particularly in developed markets. With considerable foresight, Globle-Tex expects that apparel companies will expect suppliers to be able to demonstrate eco-friendly thinking that supports corporate sustainability goals. This is a sound approach, as government commitments start to trickle down to corporations and their supply chains, including print service providers.
Laurel Brunner
The Verdigris project is an industry initiative intended to raise awareness of print’s positive environmental impact. It provides a weekly commentary to help printing companies keep up to date with environmental standards, and how environmentally friendly business management can help improve their bottom lines. Verdigris is supported by the following companies: Agfa Graphics, EFI, Epson, Fespa, HP, Kodak, Kornit, Ricoh, Spindrift, Splash PR, Unity Publishing and Xeikon.
Naar aanleiding van de European Skills Week lanceert VDAB, Vlaamse Dienst voor Arbeidsbemiddeling en Beroepsopleiding, samen met GRAFOC, het Sector-en Vormingsfonds voor arbeiders uit de printmedia industrie, voor de Vlaamse Gemeenschap een nieuwe vorm van leren op de werkvloer: ’Bedrijfsleren’.
Het is vaak moeilijk om nieuwe medewerkers te vinden met de juiste competenties. Dit geldt zeker ook voor de printmedia industrie als high tech sector. Vandaag staan er een kleine 300 vacatures open in de grafische sector. Opleidingen organiseren voor functies zoals ‘printmedia operator offsetdrukken’ of ‘procesoperator drukafwerking’ vergen een complexe en dure infrastructuur.
Om tegemoet te komen aan dit knelpunt, hebben VDAB en GRAFOC de handen in elkaar geslagen om een nieuwe opleidingsvorm op poten te zetten, nl. Bedrijfsleren.
Win-Win voor werkzoekende en werkgever
In deze vorm van opleiding krijgt de werkzoekende de mogelijkheid om een week lang te proeven van een beroep, alvorens definitief te kiezen voor de opleiding. Er is geen enkele vorm van technische voorkennis vereist. Dit met behoud van uitkering.
Voor het bedrijf is het een opportuniteit om de werkzoekende zelf van A tot Z te vormen tot een potentiële medewerker, met de nodige competenties. Daarenboven krijgt het bedrijf een financiële tegemoetkoming.
Rol van het Sectorfonds GRAFOC
De rol van het Sector- en Vormingsfonds bestaat eruit, om de werkzoekenden te informeren over deze vorm van opleiding. Zo worden er samen met de VDAB informatiesessies georganiseerd voor werkzoekenden. Geïnteresseerde werkzoekenden kunnen zich dan via GRAFOC bij bedrijven aanbieden om een opleiding te starten. Daarnaast staat GRAFOC ook in voor het gehele begeleidings- en evaluatietraject van de werkzoekende tijdens zijn opleiding tot tewerkstelling.
Eerste resultaten en toekomst
VDAB startte in 2016 samen met GRAFOC een proefproject op binnen de printmedia industrie in Oost- en West-Vlaanderen.
Van de 49 bedrijven die interesse toonden, hebben er 33 zich effectief ingeschreven om het Bedrijfsleren in hun bedrijf toe te passen. Tot op heden zijn er 10 bedrijven waar deze opleidingsvorm actief wordt toegepast. Van de 33 cursisten die startten hebben er al 8 hun opleiding beëindigd; 4 werkzoekenden zijn via een IBO-contract (individuele beroepsopleiding) aan de slag en 4 andere werkzoekenden hebben ondertussen al een vaste tewerkstelling.
Graphius is een van de bedrijven die zich intekende om het Bedrijfsleren in de praktijk te implementeren. Vandaag zijn er 3 werkzoekenden aan de slag met een vast contract, dankzij deze vorm van leren op de werkvloer, en zijn er nog 3 werkzoekenden in opleiding.
Op basis van deze succesvolle ervaring zal dit project verder worden voortgezet in 2017 en uitgebreid worden naar andere sectoren.
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The Royal Dutch Joh. Enschedé will stop the printing of banknotes. For more than three centuries the Haarlem printers were mainly known for printing banknotes. After many reorganizations it is exactly this part of the company which will cease to exist. A surplus in the world market is said to be the reason. About 100 employees will lose their jobs. From the beginning of 2017 the production of banknotes will gradually decrease. Joh. Enschedé will continue to produce special products such as stamps, visa and tax labels. The printer will also focus on services such as brand protection and anti-counterfeit.
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Voor de krantendrukkers van de New York Times is inkt nog steeds het zwarte goud. Jason Koebler interviewde de drukkers en kreeg een goed beeld van hoe het werken met een rotatiepers in de praktijk is. Zijn interviews leverden niet alleen gepeperde uitspraken op, maar ook ‘historische’ beelden. Bekijk die beelden en lees het interview via deze link.
Kandidaten gezocht
De trainingen voor 2022 staan gereed. Kijk voor het volledige online aanbod van bestaande- en nieuwe trainingen op de website.
BLOKBOEK.COM EN PRINTMEDIANIEUWS: HET OPTIMALE DOELGROEP BEREIK